American Studies Commons^™

Jerry-Rigged Salvation, John Sivils

English Class Publications

This paper examines the anagogical meaning of certain objects in three of Flannery O'Connor's stories, and then proposes how those meanings nuance narrative themes.

Flannery's "Daunting Grace": O'Connor's Nuanced Portrayals Of Disability, Joanna Horton

English Class Publications

Throughout O'Connor's fiction, we see characters who are marked by suffering or disability. It is tempting to analyze those disabled characters purely as symbols. However, if we understand O'Connors conception of suffering as an experience which prepares us for grace, we may discern which characters receive grace through suffering and which refuse to recognize their need.

Truer Than Fiction: Flannery O'Connor's Fictional Fathers, Addison Crow

English Class Publications

Flannery O’Connor grew up with a loving and supportive father, so it is perplexing that she fills her stories with fathers who portray the opposite. O’Connor’s fictional fathers, when they are included in the story, are controlling, harsh, and malicious—the complete opposite of her father, Edward O’Connor. Why would O’Connor create fathers whose image so intensely contrast that of her own supportive, gentle, and loving father? My purpose in this paper is to examine O’Connor’s fictional fathers in her short stories, “The Artificial N” and “The Comforts of Home,” and her novel, The Violent Bear It Away, and attempt …

"Unsex Me Here": A Queer Reading Of Faith In O'Connor, Shelby Spears

English Class Publications

In this essay, the author examines the O'Connor stories "The Life You Save may be Your Own," "The Comports of Home," and "A Temple of the Holy Ghost" from a queer perspective using psycho-biographical evidence.

Nothing But The Blood Of Jesus?: O'Connor's Critique Of Protestantism In Wise Blood, Jessica Saunders

English Class Publications

Published in 1949, Flannery O’Connor’s first novel, Wise Blood, satirizes not Christianity itself, but rather man’s twisted practice of the faith that O’Connor held so dear. O’Connor, a devout Roman Catholic living in the Bible Belt, writes to critique the heresy, hypocrisy, and apathy that pervaded the lives of Protestants in the South—a region that O’Connor describes as “hardly Christ-centered” but “most certainly Christ-haunted” (Mystery and Manners 44). O’Connor portrays the characters in Wise Blood as Protestants, non-Christians, or the nihilistic protagonist and hero himself, Hazel Motes, who in his rejection of the gospel, founds the Church of Christ …

Get Woke: The Themes And Receptions Of The Works Of Kate Chopin, Haydn Jeffers

English Class Publications

Kate Chopin was a prolific writer in the late nineteenth century, popular for her copious number of short stories focusing on the circumstances and lives of married women, that is, the relationship between women and the institution of marriage itself. She published these short stories primarily in magazines such as Vogue, Atlantic Monthly, and Century (Clark), and they were well received by the public, especially women, during that time. Her most popular stories were compiled into two collections: Bayou Folk, published in 1894, and A Night in Acadie, published in 1897. Both collections were highly praised …

The Mote In Hazel's Eye: The Blurred Vision Of Flannery O'Connor's "Wise Blood", Kimberly Wong

English Class Publications

While some authors start writing their novels with a full outline in mind, Flannery O’Connor’s first novel, Wise Blood, began with a short story written for the Writers’ Workshop at Iowa State in December 1946. This short story, titled “The Train,” was inspired when O’Connor was on a train going home for Christmas. She recalls, “‘There was a Tennessee boy on it in uniform who was much taken up worrying the porter about how the berths were made up” (qtd in Gooch 134). Then, O’Connor wrote Wise Blood’s larger story as a part of her masters’ thesis, but upon hearing …

All Men Created Equal: Flannery O'Connor Responds Communism, Nina Hefner

English Class Publications

From her mother’s farm, Andalusia in Milledgeville, Georgia, Flannery O’Connor found her writing inspiration by observing the ways of the South. Naturally, a pervasive motif in her works is racism. For instance, in “Revelation” Ruby Turpin spends a good portion of the short story thanking God that she is neither white trash nor black. In her essay “Aligning the Psychological with the Theological: Doubling and Race in Flannery O’Connor’s Fiction,” Doreen Fowler points out that “[Ruby’s] insistence on setting racial boundaries has been an attempt to distinguish a white, superior identity” (81), equality with African Americans being Ruby Turpin’s ultimate …

Money Buys Happiness: A Psychoanalytic Reading Of O'Connor, Hannah Wright

English Class Publications

In the year 1946 when Flannery O’Connor was about twenty-one years old, she and her mother Regina signed a document emancipating Flannery from her mother’s care so that she could attend the creative writing program at the University of Iowa (Release of Guardianship). In this determined show of independence, Flannery chose to move away from her mother and take responsibility for herself. However, this responsibility became too much for O’Connor to handle when she was diagnosed with lupus shortly after her twenty-sixth birthday. She was forced to move back in with her mother in Milledgeville and relinquish a great deal …

A City Room Of One's Own: Elizabeth Jordan, Henry James, And The New Woman Journalist, James Hunter Plummer

Department of English: Dissertations, Theses, and Student Research

This thesis considers the portrayal of the female journalist in the works of Elizabeth Jordan and Henry James. In 1898, Jordan, a journalist and editor herself, published Tales of the City Room, a collection of interconnected short stories that depict a close and supportive community of female journalists. It is, overall, a positive portrayal of female journalists by a female journalist. James, on the other hand, uses the female journalists in The Portrait of a Lady, “Flickerbridge,” and “The Papers” to show his discomfort toward New Journalism and the New Woman of the late-nineteenth and early-twentieth centuries. These …

Private Deaths: The Impossibilities Of Home In The Modernist Novel, Ava Bindas

English Honors Projects

This project examines novels by Kate Chopin, Edith Wharton, Virginia Woolf, and Nella Larsen featuring female characters who contemplate or commit suicide. Relying on a composite theoretical framework that weaves together geography theories of spaces as well as gendered theories of bodies by authors like Judith Butler, Rita Felski, and Victoria Rosner, I argue women commit suicide because their modern homes fail to accommodate their gendered bodies. Focusing less on the moment of death than on the conditions that make choosing to live impossible, this project tracks how, during a moment of supposed liberation, conceptions of gender, modernity, and domestic …

Transatlantic Grammars: Lindley Murray And William Cobbett, Peter J. Manning

Department of English Faculty Publications

No abstract provided.

The Mask Strikes Back: Blackness As Aporia In Moby-Dick And Benito Cereno, Jerome D. Clarke

Student Publications

What is the American Gothic a reaction to? Whereas other thinkers such as Nathaniel Hawthorne locates the building blocks of the American Gothic in Puritan Christianity or Amerindian Genocide, I argue that Melville posits the genesis of chattel slavery and the construction of racial category as the repressed events that haunt the Americas and return uninvited. By using the Gothic motif of the living corpse, the famed writer of Moby-Dick addresses the social bereavement which Blackness comes to represent in the Americas. By looking for truth on the skin and flesh, the main characters of Moby-Dick and “Benito Cereno” represent …

Progressive Saxonism: The Construction Of Anglo-Saxonism In Jack London's The Valley Of The Moon And Frank Norris's Mcteague, Matthew John Soderblom

FIU Electronic Theses and Dissertations

The purpose of my thesis seeks to uncover the constructed nature of the Anglo-Saxon ethnicity within two works of fiction. My thesis utilizes London’s The Valley of the Moon (1913) and Norris’s McTeague (1899) because they were published in a similar era. Both authors lived and wrote in the Bay Area during the Progressive Era of American politics. Therefore, there is political, stylistic, and regional proximity. Although Anglo-Saxonism has always been present in the United States, the construction of race was changing in the 1900s. The Valley of the Moon and McTeague both contain intriguing (and antiquated) notions of whiteness …

Arnold Whitridge: Scholar And Veteran Of Two Armies And Two Wars, Keith J. Muchowski

Publications and Research

This is an invited blog post written for Roads to the Great War, a site dedicated to the study of the First World War edited by historian Mike Hanlon. The article discusses the life and career of Arnold Whitridge, a soldier, scholar and grandson of British poet Matthew Arnold.

This is the url:

http://roadstothegreatwar-ww1.blogspot.com/2017/01/arnold-whitridge-scholar-and-veteran-of.html

The End Of Postmodernism, Ralph Clare

English Literature Faculty Publications and Presentations

Appearing at the start of the millennium, Percival Everett's Erasure (2001) features Monk Ellison, a writer who is questioning his one-time embrace of postmodern aesthetics and who raises the ire of "innovative" writer and fellow member of the Nouveau Roman Society after delivering a conference paper, F/V, part parody of and part homage to Roland Barthes's S/Z. Becoming belligerent, the writer proclaims to Ellison that postmodernists did not "have time to finish what we set out to accomplish" because any art which "opposes or rejects established systems of creation ... has to remain unfinished." His unsuccessful attempt to …

Shaping The Body Of Grief: Converging The Personal, Academic, And Visual In Memoir To Create A Broader Way Of Mourning, Hilarie Ashton

Publications and Research

I have been writing a memoir of my mother’s death since before she died. It began with a piece I started after she moved to hospice care, on the cusp of 2013. I began at my grief’s beginning: writing about the spring of her diagnosis the previous year. I currently have over 100,000 words that trace her life, her illness, her death, my grief, and my (ongoing) healing; the first chapter begins with that first piece, which I will excerpt later on. As I edit, I’m shaping the body of the text, as though it’s a person, as though it’s …